What are you listening to now?

[The One]

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[Mirror Image]

I want this box too (because it's the companion to the one I recently bought) - good?.

You didn't ask me, but I say no to that set. Schønwandt isn't a bad conductor, but I just feel he lacks the energy that's necessary to pull off these symphonies. There are plenty of people who do love Schønwandt's cycle and more power to them, but, for me, they don't stand up well against the likes of Blomstedt, Bernstein, Chung, Gilbert, or Oramo. I will say that the Dausgaard disc of assorted orchestral works is great, but this can be bought separately of course. I suppose I could be called one of the GMG's Nielsenites and I've been enthusiastically and passionately listening to his music since I first got into classical eight years ago.

[Todd]

[aligreto]

Lamb: The Children of Lir....





A favourite of mine.

[aligreto]

also on the program:  Juliet Palmer Secret Arnold and R. Strauss Oboe Concerto in D Major*
There will be over 100 players on stage for the Berlioz, it will be a great sound.  I remember a performance several  years ago that had only one harp. Several members of the youth group have become professionals a short time after graduation so there won't be any easy re-writing for them.

I know and like the  R. Strauss Oboe Concerto and I have heard this beguiling work performed live once.
Looks like a good programme and performance in store for you.

[Gurn Blanston]

In another thread you claimed that performance is a science. Now you make it dependent on the right feeling.

It's both to me. And while I couldn't explain the difference in a typewritten paragraph, I can hear and feel it. I haven't listened to the disk in question, so I don't know how it speaks to me.

What's more interesting is that he never defines what science says, of where the performers went wrong. I tend to trust performers with far more knowledge than anybody on this board, and in the end it's not important, since what's important is what you like. Making one's own preferences into science, or "correct", seems in the pretty immature to me. I might have been like that 40 years ago myself. But let's not feed the troll.

So do I, in most cases. Chances are when we diverge in our appreciation, it is because our expectations differed. Better than interjecting ones own expectations is trying to apply some thought to what the original listeners might have been expecting.  The research and contemplation into that question repays itself many times over.

[HIPster]

Finally my man, Francois!

[HIPster]

Looks interesting - how is it? 

Q

[asin]B003ZWPAZA[/asin]

I feel it's a wonderful recording, Que. 

I like the group Discantus quite a lot.

[GioCar]

In my house in the Alps, listening to



Pure bliss

[Que]

[asin]B003ZWPAZA[/asin]

I feel it's a wonderful recording, Que. 

I like the group Discantus quite a lot.

Thanks! 

Q

[The One]

It's both to me. And while I couldn't explain the difference in a typewritten paragraph, I can hear and feel it. I haven't listened to the disk in question, so I don't know how it speaks to me.

So do I, in most cases. Chances are when we diverge in our appreciation, it is because our expectations differed. Better than interjecting ones own expectations is trying to apply some thought to what the original listeners might have been expecting.  The research and contemplation into that question repays itself many times over.

Ergo, my immaturity

My young age and narrow-headedness were both detected and diagnosed here, in this very short period I've been posting, before,  so there really is no need to "feed" me...or, I follow this board for a while now and might be aware of who is who or what, just ignore me as I'm ignoring a few. No need for unrest in unknown domains.  0:) 

[Baron Scarpia]

Hey Gordo - sounds like a wonderful recording just in my 'musical sphere'!    Amazon USA has only a MP3 DL for $10 USD - CD available across the pond but not ready to put together a package - of course, my main concern in purchasing digital options is the absence of the liner notes - I'm sure w/ this release, the notes are of interest and instructive - will I miss much w/o the notes?  About to check to see if H. Mundi might offer their notes online (like Hyperion) - thanks for the posting.  Dave


This is one of the hyped recordings of 2017. But I don't "think" it's a good Telemann disc 

In any case, I listened to some of the samples and was attracted to the gruff playing of the natural horns. It's in my shopping cart for further consideration.

[aligreto]

Brahms: Trio for Horn [Bloom/Tree/Serkin]....





For me, Brahms and the Horn are synonymous. The horn is the first instrument that I think of in relation to Brahms. I feel that he wrote very well for the instrument. The Trio for Horn is a wonderful work albeit the Horn is not the primary voice. It is captivating and compelling listening and I find that the mood is, overall, somewhat forlorn and poignant, although oftentimes ebullient, but the character of the work is consistently lyrical throughout.

[Todd]

Disc seven.  Opp 95 and 130, with the revised ending and Op 133 tacked on as an extra track - that is, the proper way.  Op 95 is a bit slower than normal in all movements except the serioso third movement, which is quite vibrant.  The opening movement is slow-ish but most effective, while the final movement is very slow and dramatic until the coda.  Typically, I prefer more pep in this work, but the Koeckert deliver.  Op 130 starts off with the lighter feel of Op 127, to excellent effect.  The playing has depth when needed (Andante, Cavatina), but the Alla danza tedesca is sweet and the Allegro fun.  Here's great late Beethoven of a lighter sort.  The Grosse Fugue comes off a bit lighter and more relaxed than normal, and might work better as a closer in this style, but I still prefer the revised ending. 

Overall, the Koeckert cycle is really quite delightful.  Its ease and naturalness somewhat akin to the Vegh's makes it easy to listen to and enjoy, and if it doesn't displace my established favorites, I foresee it earning a spot with them after a few more years and listens.

[Baron Scarpia]

Ergo, my immaturity

My young age and narrow-headedness were both detected and diagnosed here, in this very short period I've been posting, before,  so there really is no need to "feed" me...or, I follow this board for a while now and might be aware of who is who or what, just ignore me as I'm ignoring a few. No need for unrest in unknown domains.  0:) 

Ignoring a few, already?

If you are going to dish it out, you should be able to take it.

I guess I'm talking to a wall. You probably have me on ignore because I don't like the Quatuor Mosaïques.

[Florestan]

Chances are when we diverge in our appreciation, it is because our expectations differed. Better than interjecting ones own expectations is trying to apply some thought to what the original listeners might have been expecting.  The research and contemplation into that question repays itself many times over.

I don't interject anything in terms of expectations. If I like what I hear, fine. If not, fine as well. I am not the kind of person who spends a lot of time trying to figure out why I didn't like a particular recording, but moves on to the next.

The research into what the original listeners might have expected (and what the composers might have eexpected them to have expected) is very rewarding from the philosophical, aesthetical and historical point of views and I dabble in it quite a lot. When it comes to the practical experience of listening the music now and here, though, I confess my limitation: no amount of research can give me period ears --- I might be convinced intellectually anout the validity of this or that PI or HIP approach but I have no illusion whatsoever that how I hear it is how the original audience hear it. For instance, there is no way for me to actually, really experience how an audience who hadn't yet heard anything post-Beethoven reacted to Eroica, or how an audience who hadn't yet heard anything Beethoven reacted to Mozart's piano sonatas. And this is only one of the multiple variables coming into play. The belief that the latest and minutest reesearch can truly help one hearing the music of the past exactly the way the original audience heard it is illusory.

[HIPster]

Sounding mighty fine right now:

[asin]B01ITS274Q[/asin]

[Baron Scarpia]

Overall, the Koeckert cycle is really quite delightful.  Its ease and naturalness somewhat akin to the Vegh's makes it easy to listen to and enjoy, and if it doesn't displace my established favorites, I foresee it earning a spot with them after a few more years and listens.

Seems very attractive, but not enough to get over my aversion to ordering from Japan. Maybe the release will be adopted by the main label.

[Florestan]

Ignoring a few, already?

If you are going to dish it out, you should be able to take it.

I guess I'm talking to a wall. You probably have me on ignore because I don't like the Quatuor Mosaïques.

Ignoring people who disagree with you is not going to make them disappear and indeed betrays psychological immaturity: the world is full of such people; if you can't, or won't, deal with it (and them) on an innocuous internet board, how will you deal with them in the actual life? And besides, voluntarily reading and hearing and being exposed to only opinions which allign with your own is a sign of either fanaticism or insecurity, usually both, and makes the world boring as hell.

I have never ignored anyone, nor will I ever do it. The more diverse and contradictory the opinions, the more stimulating the environment.

[The One]

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